Amy Schumer and Bill Hader in TrainwreckTRAINWRECK

Longtime admirers of Comedy Central's Inside Amy Schumer could easily be troubled by director Judd Apatow's Trainwreck, considering that by its finale, the wickedly smart, subversive, hysterical Schumer has morphed into a pretty standard rom-com heroine. (The transformation may be particularly dispiriting knowing that Schumer wrote the script.) As for me, I came to the party late, not having seen the star's sketch-series output until a few months ago, so I'm still living happily in the Amy Schumer afterglow, and was grateful for the oftentimes very funny Trainwreck at least being better than standard Hollywood rom-coms. Schumer's more die-hard fans may well bristle, but hey - I barely know the woman.

Inside OutINSIDE OUT

There appear to be two ideal ways to discuss, in review form, Pixar's hugely entertaining animated comedy Inside Out. One is through something short and sweet that suggests the experience of director Pete Docter's hilarious, incredibly sophisticated charmer without giving away all of its best jokes and most trenchant observations. The other is through a dissertation of some 20,000 words that digs deeply into the rather staggering psychological nuance of this thing, with lengthy footnotes exploring, say, The Role of Abstract Thought in the Prepubescent Female Psyche, or The Singular Comedic Melancholia of Phyllis from The Office. I'm opting for short(-ish) and sweet. And you're welcome.

Rosemarie DeWitt and Adam Sandler in Men, Women & ChildrenMEN, WOMEN & CHILDREN

The single most definitive shot in director/co-writer Jason Reitman's "Ee-e-eek! The Internet!" melodrama Men, Women & Children is one from the previews, in which Ansel Elgort trudges toward dozens of fellow high-schoolers, all of whom are so fixated on their phones that they can't see anything, or anyone, directly in front of them.

Joseph Gordon-Levitt and Scarlett Johansson in Don JonDON JON

Writer/director/star Joseph Gordon-Levitt's Don Jon casts its auteur as a New Jersey bartender obsessed with pornography, and you can view the film as an extremely raunchy romantic comedy, or an untraditional coming-of-age saga, or a mostly lighthearted exploration of the perils of addiction. But I prefer to think of Gordon-Levitt's sprightly, confident filmmaking debut more as a modernized Pinocchio, in which, through lessons learned and a touch of magic, a creature made of wood - or rather, one sporting wood - eventually becomes a real live boy.

Hugh Jackman in The WolverineTHE WOLVERINE

As much as I adore the character and the actor who has now played him in six films, I'll admit that I entered director James Mangold's comic-book spectacular The Wolverine with more than a touch of trepidation, as I was still smarting from the bloated, boring mess that was 2009's X-Men Origins: Wolverine. Weren't there other costumed crime-fighters in the X-Men universe - Anna Paquin's Rogue, perhaps, or Ben Foster's Angel - who might've enjoyed their own solo projects before we were given yet another go-around with the growling softie with the adamantium claws and questionable grooming habits? Hadn't poor Hugh Jackman, and poor us, suffered enough?

Josh Brolin and Will Smith in Men in Black 3MEN IN BLACK 3

Is it merely deserved absence making my heart grow fonder, or is Men in Black 3, against almost all expectation, awfully damned good?

Paul Giamatti and Alex Shaffer in Win WinWIN WIN

When I say that writer/director Tom McCarthy's Win Win could easily serve as the inspiration for a long-running TV series, I don't mean it in any way insultingly, partly because our current small-screen options are, in general, vastly superior to our big-screen ones. Mostly, though, it's because this serious-minded comedy is so teeming with nuanced, empathetic characters and complicated yet wholly plausible situations and circumstances that you want to luxuriate in Win Win's universe for far longer than the movie's too-brief 100 minutes - like, for an hour a week over several seasons.

Bradley Cooper in LimitlessLIMITLESS and THE LINCOLN LAWYER

At some point during my double-feature of Limitless and The Lincoln Lawyer, I was reminded, as I frequently am, that we filmgoers don't really need more great movies from Hollywood. We just need more good movies - smart, strong, satisfying releases that only want to entertain, but manage to do so without attempting to overwhelm you, or demanding that you first check your intelligence at the auditorium door.

Matt Damon in The Informant!THE INFORMANT!

 

The film's madcap trailers -- to say nothing of the exclamation point in the title -- don't accurately capture the tone of Steven Soderbergh's The Informant! But I'll be damned if I know what kind of trailers would suggest the feel of this altogether remarkable corporate comedy, which starts off amusingly arch, becomes more funny and fascinating as it progresses, and winds up flat-out hysterical, with your laughter tempered by righteous anger, unanticipated pity, and stunned disbelief.

Jesse Eisenberg and Kristin Stewart in AdventurelandADVENTURELAND

My first awareness of writer/director Greg Mottola's Adventureland came at Christmastime, when some family members and I saw a trailer for the comedy before, of all things, a screening of Doubt. The movie's my-summer-at-an-amusement-park setup looked kind of promising, but given the preview's one-liners and visual gags, the supporting cast (Bill Hader, Ryan Reynolds, Kristen Wiig), and Mottola's credit as the director of Superbad, it seemed like an incredibly inappropriate teaser to run before John Patrick Shanley's nonsecular drama. When the trailer ended, my brother and I shared an incredulous look and a chuckle at the apparent incongruity. "Know your audience," he said with a laugh.